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(This is part I of a series of essays on meme theory. Part II is entitled Rude Awakening: Memes as Dialectical Images). Part III is called Memes and the Reactionary Totemism of the Theft of Joy)
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This paper introduces and contextualises Climate Futures, an experiment in which AI was repurposed as a ‘co-author’ of climate stories and a co-designer of climate-related images that facilitate reflections on present and future(s) of living with climate change. It converses with histories of writing and computation, including surrealistic ‘algorithmic writing’, recombinatory poems and ‘electronic literature’. At the core lies a reflection about how machine learning’s associative, predictive and regenerative capacities can be employed in playful, critical and contemplative goals. Our goal is not automating writing (as in product-oriented applications of AI). Instead, as poet Charles Hartman argues, ‘the question isn’t exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting’ (1996, p. 5). STS scholars critique labs as future-making sites and machine learning modelling practices and, for example, describe them also as fictions. Building on these critiques and in line with ‘critical technical practice’ (Agre, 1997), we embed our critique of ‘making the future’ in how we employ machine learning to design a tool for looking ahead and telling stories on life with climate change. This has involved engaging with climate narratives and machine learning from the critical and practical perspectives of artistic research. We trained machine learning algorithms (i.e. GPT-2 and AttnGAN) using climate fiction novels (as a dataset of cultural imaginaries of the future). We prompted them to produce new climate fiction stories and images, which we edited to create a tarot-like deck and a story-book, thus also playfully engaging with machine learning’s predictive associations. The tarot deck is designed to facilitate conversations about climate change. How to imagine the future beyond scenarios of resilience and the dystopian? How to aid our transition into different ways of caring for the planet and each other?
The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today’s culture and society.Influenced by a diverse range of figures, ranging from Vilém Flusser, Arthur Schopenhauer, Immanuel Kant, David Berry, Lev Manovich, Olga Goriunova, Ernst Mayr, Bruce Sterling and, of course, James Bridle, The New Aesthetic and Art: Constellations of the Postdigital doesn’t just propose a description of a new set of objects but radically asserts that New Aesthetic objects analogously function as organisms within a broader digital-physical ecosystems of things and agents.
Abundant HCI research exists on the many assistive technologies that provide help with everyday physical and cognitive tasks. However, while a purely assistive approach often casts aging people in passive roles, recent studies suggest that adults may be ‘flourishing’ way into advanced age, even though implicit ageist prejudices are difficult to eradicate. Negative age-related stereotypes are the hidden and yet urgent issue we address in this study. There is a clear opportunity for an anti-ageist perspective in HCI, an approach that we propose as complementary to assistive technologies: in addition to providing solutions for the aging population, we urgently call for designs about aging, to spark a conversation on age, raise awareness and ultimately contrast ageist stereotypes. We point at empathy as a key element to reconceptualize, at least in part, HCI’s contribution to research on aging. We present a design critique of two interactive pieces that, although not without flaws, suggest how future empathy-raising artifacts might be. Our analysis combines pragmatist aesthetics, interaction criticism and ludology, and yields four design tactics (recurring configurations of significant elements) that are generative in bringing about broader design implications towards a different, empathy-based concept of aging in HCI.
Today, we live in a world where every time we turn on our smartphones, we are inextricably tied by data, laws and flowing bytes to different countries. A world in which personal expressions are framed and mediated by digital platforms, and where new kinds of currencies, financial exchange and even labor bypass corporations and governments. Simultaneously, the same technologies increase governmental powers of surveillance, allow corporations to extract ever more complex working arrangements and do little to slow the construction of actual walls along actual borders. On the one hand, the agency of individuals and groups is starting to approach that of nation states; on the other, our mobility and hard-won rights are under threat. What tools do we need to understand this world, and how can art assist in envisioning and enacting other possible futures?This publication investigates the new relationships between states, citizens and the stateless made possible by emerging technologies. It is the result of a two-year EU-funded collaboration between Aksioma (SI), Drugo More (HR), Furtherfield (UK), Institute of Network Cultures (NL), NeMe (CY), and a diverse range of artists, curators, theorists and audiences. State Machines insists on the need for new forms of expression and new artistic practices to address the most urgent questions of our time, and seeks to educate and empower the digital subjects of today to become active, engaged, and effective digital citizens of tomorrow.Contributors: James Bridle, Max Dovey, Marc Garrett, Valeria Graziano, Max Haiven, Lynn Hershman Leeson, Francis Hunger, Helen Kaplinsky, Marcell Mars, Tomislav Medak, Rob Myers, Emily van der Nagel, Rachel O’Dwyer, Lídia Pereira, Rebecca L. Stein, Cassie Thornton, Paul Vanouse, Patricia de Vries, Krystian Woznicki.
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The 3D Additivist Cookbook, devised and edited by Morehshin Allahyari & Daniel Rourke, is a free compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains .obj and .stl files for the 3D printer, as well as critical and fictional texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.
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The (political) power of memes has moved beyond virtual images. The distinction between the virtual and ‘real life’ no longer applies, or perhaps was never really there. Their effects (or should we say affects?) are moving through digital infrastructures, policy, regulations and bodies. If memes are used as a tool by the alt-right to mobilize people to storm the Capitol and play a substantial role in the Ukrainian war, can they also be used by the left to spark a revolution, as memetic warfare is more immediate and accessible than real-life demonstrations? What kind of labor would that require? What kind of tools and principles would we need? And what if memetic logics of spreading information were applied to spread progressive ideas for a possible future?
